Roberto FabeloChé, 1997
Crayon on canvas, 89 x 60 cm.
And at the Edge of a Dream: a Man
Roberto Fabelo’s work shows the most incredible nuances of contemporary Cuban art. This artist from the 70’s still upholds, after almost 50 years, one of the best accomplished productions in the consensus between craft and dreams. His studies in the academy ran by the greatest Cuban artists ever as Antonia Eiriz, Servando Cabrera Moreno, among others; validate his absolute mastery of a slippery figure. In his work we can see expressionism; and other indispensable personalities of the Art History, such as Goya and Velásquez, appear during the making-off of his characters. Thus, Fabelo achieves the coexistence of too many aesthetics allures in his masterpieces.
The surrealism noticed in the agglomeration of his fantastic characters doesn’t cease to drop anchors to the most exact commitment with his milieu. Like this, the dreaming environment that amuses his canvases becomes some sort of contextual codification that Fabelo presents with great expertise to the audience.
The heads painted by the artist grow into styles that, at first, seem like they come from the most convoluted dreams. However, Fabelo knows well the mystery hidden in his characters, which come to life only in the deepest unconscious sleep. He then paints to remember them, and in the process they acquire new consternations that transform them into fantastic beings with traces of human qualities, during the transit toward solitude and pain.
Ché is part of one sector of his artistic production, in which he registers certain repeated nuances of his work. The firm line gives shape to the characters, and gently drips between the different elements printed in the canvas. It shows a chiaroscuro constellation that reassures the artist as our honorable painter. The thing is that Fabelo has patented, within the contemporary art, the imbrication of this profession. His capacity to readapt to the new times and the aesthetic criteria has allowed him to go into one of the most diverse and updated discourses.
In this occasion, the artist appeals to the figure of the post-revolution hero (CHE) and introduces new dimensions to the image that our painters and photographers have portrayed of him (the hero) along the years. The sensuality of a serpentine line impacts and seduces at the first glance. He states a preference for the elegance of the simplicity manifested in the canvas. Ché is another character that Fabelo adds to his fantastic-creatures broth. This Ché is escorted by vigorous and bewitching victories; it is a drawing of the most intrepid contrast between history and art.
–Modesto D. Serpa